Apropos Of Something

"Before 1800 nothing was irrelevant. So argues Elisa Tamarkin's sweeping cultural history of a key shift in consciousness: the arrival, around 1800, of "relevance" as the means to grasp how something previously disregarded becomes important and interesting. At a time when so much makes claims to attention every day, how does one decide what is most valuable right now? This is not only a contemporary problem. For Ralph Waldo Emerson, the question for the nineteenth century was how, in the immensity and "succession" of objects, anything becomes a proper object of experience. How that question was finally defined as one of relevance is the story of Apropos of Nothing. Relevance, Tamarkin shows, was primarily an Anglo-American concept. It engaged major intellectual figures, centrally the pragmatists-William James, Alain Locke, and John Dewey-and before them thinkers including Emerson and Alfred North Whitehead. Most of all, relevance was a problem for the worlds of art, literature, education, and criticism. These were fascinated by how old, boring, distant, or unfamiliar things get taken in; how they are admitted as meaningful; how they come home to us like the ludicrous raven comes to Edgar Allan Poe's student in the middle of the night in some obscure connection with himself. Many nineteenth-century American artists saw their paintings as pragmatic works that make relevance-that suggest versions of events that feel apropos of our world the moment we see them. (Tamarkin's book is richly illustrated, in color, with works by Winslow Homer, Abbott Handerson Thayer, Edgar Degas, and others.) Relevance remains a conundrum, especially for the humanities. It obliges us to say why we admit Poe's poem-or, say, a line of Emerson's-is interesting enough to study it, to dedicate ourselves to understanding it, to affirming that this effort is, in Emerson's words, "relevant to me and mine, to nature, and the hour that now passes.""--

The Long-Awaited, Enormously Entertaining Memoir by One of the Great Artists of Our Time—Now a New York Times, USA Today, Los Angeles Times, and Publisher’s Weekly Bestseller. In this candid and often hilarious memoir, the celebrated director, comedian, writer, and actor offers a comprehensive, personal look at his tumultuous life. Beginning with his Brooklyn childhood and his stint as a writer for the Sid Caesar variety show in the early days of television, working alongside comedy greats, Allen tells of his difficult early days doing standup before he achieved recognition and success. With his unique storytelling pizzazz, he recounts his departure into moviemaking, with such slapstick comedies as Take the Money and Run, and revisits his entire, sixty-year-long, and enormously productive career as a writer and director, from his classics Annie Hall, Manhattan, and Annie and Her Sisters to his most recent films, including Midnight in Paris. Along the way, he discusses his marriages, his romances and famous friendships, his jazz playing, and his books and plays. We learn about his demons, his mistakes, his successes, and those he loved, worked with, and learned from in equal measure. This is a hugely entertaining, deeply honest, rich and brilliant self-portrait of a celebrated artist who is ranked among the greatest filmmakers of our time.

Richard Pevear and Larissa Volokhonsky’s masterful translation of The Idiot is destined to stand with their versions of Crime and Punishment, The Brothers Karamazov, and Demons as the definitive Dostoevsky in English. After his great portrayal of a guilty man in Crime and Punishment, Dostoevsky set out in The Idiot to portray a man of pure innocence. The twenty-six-year-old Prince Myshkin, following a stay of several years in a Swiss sanatorium, returns to Russia to collect an inheritance and “be among people.” Even before he reaches home he meets the dark Rogozhin, a rich merchant’s son whose obsession with the beautiful Nastasya Filippovna eventually draws all three of them into a tragic denouement. In Petersburg the prince finds himself a stranger in a society obsessed with money, power, and manipulation. Scandal escalates to murder as Dostoevsky traces the surprising effect of this “positively beautiful man” on the people around him, leading to a final scene that is one of the most powerful in all of world literature.

This major contribution to the study of antebellum religious art offers a detailed case study of American postmillennialism and its many visual expressions. Treating paintings as "intersections of cultural expression," Gail E. Husch begins with a single painting to spin out an interpretation in many directions, from the specific aesthetic and social concerns of artist and patron to the wider political and cultural concerns of Americans in the mid-19th century. Arguing that "genuine apocalyptic faith" was fundamental to American Protestants, Husch shows how artists, patrons, and ordinary citizens actively engaged contemporary questions of peace and war, freedom and slavery, and the equality of human beings before God in their visual arts. Part of an emerging revaluation of the role of the religious in American art, Husch asks us to read ideas as they function in works, rather than see images merely as passive illustrations of ideas. Weaving images drawn from high and low culture, politics, and religion, she develops a complex cultural narrative of the times, thus showing the truth of one picture being worth a thousand words.

Nobody ever reads this part of the book. Somebody at the publishing house explained to me that it's actually called the book flap. That sounded dirty, so I giggled for three hours. But it says in my contract that I have to write something over here in this tiny space, even though I don't think anyone will notice. Some people might open up to the middle of the book and start flipping through pages, but nobody will read this part. In fact, I'll bet anything that you're not reading this part now. And if it turns out that you are . . . well, the guy in the bookstore is probably staring at you, saying, "Stop reading that book!" I guess there's a reason bookstores are going out of business, left and right. Cheap fucks like you think it's okay to stand in the aisles and read to your heart's content. So for the sake of bookstores everywhere, buy this fucking book. I myself don't care. I only care about the poor working man. Oh, and the sanctity of the written word. I care about that, too. And in my case, those written words, of course, include fuck, dick, and pussy. In the early 1970s, as our nation's youth railed against every conceivable societal norm, a funny-looking teenage Jew started turning up at open mike nights in various New York City comedy clubs. Surprisingly, he didn't suck. That funny-looking teenage Jew is now the even funnier-looking middle-aged comedian Gilbert Gottfried, who despite his transparent shortcomings has managed to carve out a hardly-respectable career—and a reputation for shock and awe unrivaled outside the Bush administration. With this scathingly funny book of rants and musings, Gottfried sullies an entirely new medium with his dysfunctional worldview. HILARIOUS HIGHLIGHTS INCLUDE: • Gut-wrenching stories from his bizarre childhood • A list of celebrities Gilbert would like to have sex with • A somewhat shorter list of celebrities who would like to have sex with Gilbert • An even shorter list of Gilbert's comely co-stars who have been forced to have sex with him on- screen • Side-splitting tales of the worst gigs he's ever performed • Incredibly awkward encounters with famous people from Gilbert's years as a celebrity (of sorts), including Harrison Ford, Keifer Sutherland, Hugh Hefner and one wildly offensive exchange with Marlee Matlin that left the actress speechless • Signature takes on timeless jokes, presented in a clip‘n save format so humorless readers can commit them to memory or tear them from the book's spine and carry them around in their wallets to amuse their friends • The story behind Gilbert's infamous retelling of the classic "Aristocrats" routine that defined the most recent phase of his career • And much more!

Anglophilia charts the phenomenon of the love of Britain that emerged after the Revolution and remains in the character of U.S. society and class, the style of academic life, and the idea of American intellectualism. But as Tamarkin shows, this Anglophilia was more than just an elite nostalgia; it was popular devotion that made reverence for British tradition instrumental to the psychological innovations of democracy. Anglophilia spoke to fantasies of cultural belonging, polite sociability, and, finally, deference itself as an affective practice within egalitarian politics. Tamarkin traces the wide-ranging effects of anglophilia on American literature, art and intellectual life in the early nineteenth century, as well as its influence in arguments against slavery, in the politics of Union, and in the dialectics of liberty and loyalty before the civil war. By working beyond narratives of British influence, Tamarkin highlights a more intricate culture of American response, one that included Whig elites, college students, radical democrats, urban immigrants, and African Americans. Ultimately, Anglophila argues that that the love of Britain was not simply a fetish or form of shame-a release from the burdens of American culture-but an anachronistic structure of attachement in which U.S. Identity was lived in other languages of national expression.

The result of the midnight rape of a tavern wench, Apropos is an unlikely hero: rogue, rascal, scoundrel, cheat -- and those are his good points. Lame but cunning, he thinks that chivalry is not dead simply because he isn't finished with it.All too aware of his violent and unseemly beginnings, Apropos travels to the court of the good King Runcible with three goals: to find his father, seek retribution, and line his pockets. Instead he finds himself assigned as squire to the most senile knight in the court, Sir Umbrage of the Flaming Nether Regions. When he also encounters a berserk phoenix, murderous unicorns, mutated harpies, homicidal warrior kings, and a princess who may be a psychotic arsonist, Apropos must use all his wits -- and his flashing blade -- to survive.